2011年10月8日星期六
2011年3月23日星期三
Dissertation Proposal Part 2
DHTP Dissertation Proposal Part 2
We have produced a template for your dissertation proposal, a copy of which is reproduced below. The sections relate closely to the work you did in Level 2 where you investigated a topic by doing a literature search, and using primary research methods such as observations and experiments.
Please download this form from the VLE.
Please save as a word.doc and change the title to your full name, e.g.: John Smith.doc - do not email the proposal without changing the file name.
Sample template
Student Name Sun yi nan
Course Textile design
Supervisor name Jonathan Baldwin
Email address Y.W.Sun@dundee.ac.uk
Date 10/03/2011
Using the template
Enter your personal details in the box above. The email address will be used by your tutor and others to contact you. You must check this regularly for news on tutorial dates.
Read each heading carefully and type into the text box below.
Email your proposal to your supervisor and load it up on Safe Assignment of the VLE
Total word count: between 2000-2500 words (excluding bibliography).
Working title (max 50words)
This should give an outline of your research topic. If appropriate use a title and a subtitle. You don’t have to be too specific at first and you don’t have to word it like a question - but you can if you want.
The Application Analysis Of Blue And White’s Pattern In Modern Textile Design
Summary (max 1000 words)
Here you should indicate what you already know about the topic. You should already have done some reading around it. Summarise this reading with regards to the research topic and describe the research area.
With the global economic integration, it is very important to maintain regional ethnic characteristics and traditional culture as well. How to solve the problems that combine the essence of traditional culture with modern atmosphere has always been considered and discovered by many designers for a long time. Home textile design is the same point. Selecting the eye-catching Blue and White to be the research target, seeing the small, from the individual to general, this thesis is aimed to analyse questions from studying blue and white colour inherent aesthetic to the developing of Chinese traditional element, and look for the joint point between blue and white textile design.
I want begins with the origin, develop, background information, and spread of blue and white to grasp its culture value, then it moves to the colour art, pattern features and art style rules to understand the culture charm and inherent aesthetic spirit of blue and white. Furthermore, it gets use of the modern design concepts and traditional aesthetic ideas to discover the new road for the re-design and the application in home textile of blue and white. It not only enriches my understanding in traditional culture and broadens my aesthetic horizon by studying blue and white intensively, but tells me Chinese unique spiritual values and ways of thinking in modern design and concepts. It discovers the major concern that how to mix the ethnic element into modern design better as well.
During the Yuan dynasty (1279-1368) after the Mongol conquest of China, some time in the early fourteenth century an entirely new kind of porcelain appeared, pained in under glaze cobalt blue. (Carswell, 2000) With hardly any precedent, this blue and white porcelain sprang on to an empty stage, a platform which it was to dominate in the history of world ceramics for the next four hundred years.
(Continued over)
The decoration colour of this pattern is blue and white. The blue colour is the colour of the sea or sky. Blue gives people transparent impression, and also can reflects calm, elegant, indifferent emotions to people. Distinctive bright colour of blue is a very thought-provoking colour. Blue and white balance interspersed with each other. It reached harmony of decorative effects. This eternal subtle colour conforms to the Oriental nation's aesthetic preferences. Blue and white decoration on the white background broke the white porcelain of the monotonous, and shows its elegant, graceful.
From the very beginning Yuan blue and white, with its often massive forms and complex decoration, differed fundamentally from the slighter and more delicate wares of the preceding Song dynasty. (Carswell, 2000) It was held in great esteem all over Asia, and from the kilns at Jingdezhen in southern China it was carried westwards from sites throughout Central and Southeast Asia, India, Sri Lanka, the Maldives and so on.
As the carrier of Chinese traditional lucky patterns, blue and white decoration patterns also uphold the characteristics of Chinese decoration. They are rich in meaning. Depending on the content of the auspicious expression screen, can be divided into plant patterns, animal patterns, and the secondary patterns.
Now a lot of traditional elements are integrated in the community in all its aspects.
Home textile, as closely related to the people's daily necessities, position becomes increasingly important in people's lives. China home textile production is an ancient and young industry. Home textiles are an integral part of life for people. When people have the basic needs of life, then their pursuit of aesthetic deeper required will start, then naturally textile design got new space for development. Home becomes a self-show space. Enable people to return to the heart and emotional demands of space. With the development of the society, home textiles design has entered a leap forward period. It not only to people creating a rest, work, play and comfortable environment, but also for people to create imaginative space such as thinking, feeling people thinking. It's not just simple enjoyment of the material， there is mental pleasure and exchange. There is no space to replace the home textile design position and function. It is also can not calculate its value and impact. It is an important part in people's lives cannot leave behind. It take the static of the space into a dynamic, makes static objects have the vitality, are flowing in the culture and personality in the space, make life more dynamic. It tuned the relationship between people and things, man and man, man and space, people and the environment. Textile design became one of the links. It is the art of life and art of living.
Aimed for home textiles market survey has a problem: according to your favourite home textiles, are you looking forward to what it can to bring you the greatest feeling is? Most consumers choose the textile power by their own culture. Have participated in the Frankfurt International trade fair for home textiles designers after returning home, laments the domestic fighter levels are not low. Think of many buildings in the country, both references to the European style, is also integrated into the national elements. Although this is the external manifestations of art, but the connotation of art has a qualitative difference. This difference comes from the effects of cultural understanding of the meaning of textile design and performance. Is not based on knowledge of the cultural and historical connotations. Blindly pursue foreign design style is not of their own design based on space. In the rapid development of science and technology, today's era of knowledge sharing, maintaining national characteristics based on the countries cultural. Flash point in Chinese traditional elements let the world know, let the world accepted, then Chinese home textiles can find their true world. My thesis research direction of blue and white, from the perspective of East-West, history and culture propagation analysis in terms of inheritance and development of it, is a mining and exploration of history and culture. Analysis from the angle of the pattern and colour, its principles on formal beauty and decorative principles is the extension and development of textile pattern. Analysis of the relationship from the blue and white design and textiles is inheritance and development of better to how traditional elements and the enterprise product design and development. Open markets between East and West let China design better and faster towards the world market.
Aims: Why are you doing this? (max 100 words)
These are a general statement on the intent or direction for the research – why are you doing this? Refer to theoretical aims and practical ones where relevant. For example: How might this improve your design practice? How does it contribute to the discourses within your discipline? Who else might benefit from your research? Is it aimed at an academic or a wider audience? What do you hope your research will achieve? State your aims concisely.
I want to research this topic because I am very interested in blue and white pattern, cloth and design. I am also like Cultural practices in various countries. And it also closely linked with my course. I feel if I can understand it deeply it will improve later design work. When I am in practice and I can learn more about different material and cultural influences through design. I think that students studying interior design, product design and graphic design can benefit from its colour, pattern, material, skill and so on. My research will target an academic or public audience.
Objectives: What will you produce? (max 100 words)
Objectives are the things you will produce in doing the dissertation, e.g. a review of the relevant literature, a collection and discussion of people’s experiences/opinions, an assessment of a debate or collection of work etc.
Like your aims, these will help your tutor (and you) assess your success. They may change over time but aims and objectives are useful to keep you focussed. Again be concise here – you may want to use bullet points.
I want to let everyone know about a comprehensive review of Chinese traditional typical pattern and its culture, and focusing on a particular type Blue and White. I will examine the features of Chinese traditional pattern and see how it inherits and develops over time and how it affects contemporary fashion and textile design. I think that traditional things and modern things have important comparative qualities that will allow me to understand how these interact. I want blue and white design used in world. I find this research area very interesting.
Keywords (min 5 and max 10)
This should be a list of key terms that help us see if you are aware of where your research ‘sits’. For example, if you are writing on depictions of women in advertising your list might include ‘gender, feminism, representation, advertising, semiotics’. Keywords will help you when doing electronic searched for research materials.
Chinese traditional pattern , Culture, Blue and White, Globalization, textile design,
Annotated Bibliography (min of 24books, articles, websites)
Place here alphabetically a list of materials which you intent to use for you dissertation. Format these according to the Harvard Method!
Please make sure you have critically assessed these as being appropriate for your topic and write a short paragraph for each one summarising the content and its relevance to your research area.
Agins, T(1999) The end of fashion. New York. HarperCollins. It tells us how marketing changed the clothing business forever.
Bushell,S.W(1989) Oriental Ceramic Art. New York. Appelton. This book talks about Asian’s ceramic history and development.
Carswell.J(1985) Blue and White. USA. Chicago. This book talks about Chinese porcelain and its impact on the western world.
Clark,H(2000) Modernity at large. London. University of Minnesota Press. Cultural dimensions of globalization.
Craik,J(1994) The face of fashion. London and New York. Routledge. It is talk about Cultural studies in fashion.
Dawn,J(1993)Chinoiserie. London. Phaidon Press. This book talks about the different Chinese style art. Such as ceramic, furniture, textile and so on.
Donald, C(2007) Dress Sense. UK. Berg. It is tell us dress have some meaning and their different feeling.
Eugenia,P(2009) and Hazel C(2009) The Fabric of Cultures. USA. Routledge. This book in 11 chapter talk about the fashioning China style in the 21s century. It is really helpful for my research.
Fohn,C(2000) Blue and White. London. British museum press. It is talk about Chinese porcelain around the world.
Gao, H (1992) Chinese textile design. London. Penguin group. It is talk about history of Chinese textile design, like skills.
Gomperta,G.M(1980) Chinese Celadon Wares. London. Faber. This book also has some links about Blue and White.
Greensted, M (1982) and Peter,H(1982) Chinese Ceramics:The Indian Connection. London. Brostol Museum and Art Gallery.
It tells us Chinese ceramic also have effects on other country.
Guy,J(1990) Oriental Trade Ceramics in South East Asia. Singapore. Oxford university press. It tells us the ceramic trade history in south east Asia.
Hobson,R.L(1915)Chinese Pottery and Porcelain. London. Oxford university press. This book tells us the early history about Chinese pottery and porcelain.
Hoodrum,A(2005) The National Fabric. UK. Berg. It is tell us the fashion and globalization.
John,A(1951)Early Chinese Blue and White in the Museum of Eastern Art. London. Oriental. This book tells us some history of blue and white.
Loewe,M(1982) Chinese Ideas of Life and Death. London. Berg. This book talks about faith, myth and reason in the Han dynasty.
Patrizia,C(2004) The Clothed Body. UK. Berg. This book talks about the dress, language and communication. Language and dress are sign systems.
Rawson,J(1980) Ancient China. London. Berg. This book talks about art and archaeology.
Robert,C(1980) Spode’s Willow Pattern. London. Cassell Ltd. This book talks about pattern and design on pottery or porcelain.
Sandra,N(2003) Re-Orienting Fashion. UK. Berg. It is tell us the globalization of Asian dress.
Scheffer,Y.M.(1994) The changing map of European textile. London. Penguin group. It is talk about production and sourcing of textile and clothing.
S.J. V(1991) Chinese Pottery and Porcelain. London. British museum press. It is a book that survey of the development of ceramics from the Neolithic period to the present day. Assessing the roles pottery has played in each dynasty throughout the history of China.
Valery,M(1994) Chinese Clothing. USA. Oxford university press. This book talks about Chinese traditional clothing and pattern, skills.
We have produced a template for your dissertation proposal, a copy of which is reproduced below. The sections relate closely to the work you did in Level 2 where you investigated a topic by doing a literature search, and using primary research methods such as observations and experiments.
Please download this form from the VLE.
Please save as a word.doc and change the title to your full name, e.g.: John Smith.doc - do not email the proposal without changing the file name.
Sample template
Student Name Sun yi nan
Course Textile design
Supervisor name Jonathan Baldwin
Email address Y.W.Sun@dundee.ac.uk
Date 10/03/2011
Using the template
Enter your personal details in the box above. The email address will be used by your tutor and others to contact you. You must check this regularly for news on tutorial dates.
Read each heading carefully and type into the text box below.
Email your proposal to your supervisor and load it up on Safe Assignment of the VLE
Total word count: between 2000-2500 words (excluding bibliography).
Working title (max 50words)
This should give an outline of your research topic. If appropriate use a title and a subtitle. You don’t have to be too specific at first and you don’t have to word it like a question - but you can if you want.
The Application Analysis Of Blue And White’s Pattern In Modern Textile Design
Summary (max 1000 words)
Here you should indicate what you already know about the topic. You should already have done some reading around it. Summarise this reading with regards to the research topic and describe the research area.
With the global economic integration, it is very important to maintain regional ethnic characteristics and traditional culture as well. How to solve the problems that combine the essence of traditional culture with modern atmosphere has always been considered and discovered by many designers for a long time. Home textile design is the same point. Selecting the eye-catching Blue and White to be the research target, seeing the small, from the individual to general, this thesis is aimed to analyse questions from studying blue and white colour inherent aesthetic to the developing of Chinese traditional element, and look for the joint point between blue and white textile design.
I want begins with the origin, develop, background information, and spread of blue and white to grasp its culture value, then it moves to the colour art, pattern features and art style rules to understand the culture charm and inherent aesthetic spirit of blue and white. Furthermore, it gets use of the modern design concepts and traditional aesthetic ideas to discover the new road for the re-design and the application in home textile of blue and white. It not only enriches my understanding in traditional culture and broadens my aesthetic horizon by studying blue and white intensively, but tells me Chinese unique spiritual values and ways of thinking in modern design and concepts. It discovers the major concern that how to mix the ethnic element into modern design better as well.
During the Yuan dynasty (1279-1368) after the Mongol conquest of China, some time in the early fourteenth century an entirely new kind of porcelain appeared, pained in under glaze cobalt blue. (Carswell, 2000) With hardly any precedent, this blue and white porcelain sprang on to an empty stage, a platform which it was to dominate in the history of world ceramics for the next four hundred years.
(Continued over)
The decoration colour of this pattern is blue and white. The blue colour is the colour of the sea or sky. Blue gives people transparent impression, and also can reflects calm, elegant, indifferent emotions to people. Distinctive bright colour of blue is a very thought-provoking colour. Blue and white balance interspersed with each other. It reached harmony of decorative effects. This eternal subtle colour conforms to the Oriental nation's aesthetic preferences. Blue and white decoration on the white background broke the white porcelain of the monotonous, and shows its elegant, graceful.
From the very beginning Yuan blue and white, with its often massive forms and complex decoration, differed fundamentally from the slighter and more delicate wares of the preceding Song dynasty. (Carswell, 2000) It was held in great esteem all over Asia, and from the kilns at Jingdezhen in southern China it was carried westwards from sites throughout Central and Southeast Asia, India, Sri Lanka, the Maldives and so on.
As the carrier of Chinese traditional lucky patterns, blue and white decoration patterns also uphold the characteristics of Chinese decoration. They are rich in meaning. Depending on the content of the auspicious expression screen, can be divided into plant patterns, animal patterns, and the secondary patterns.
Now a lot of traditional elements are integrated in the community in all its aspects.
Home textile, as closely related to the people's daily necessities, position becomes increasingly important in people's lives. China home textile production is an ancient and young industry. Home textiles are an integral part of life for people. When people have the basic needs of life, then their pursuit of aesthetic deeper required will start, then naturally textile design got new space for development. Home becomes a self-show space. Enable people to return to the heart and emotional demands of space. With the development of the society, home textiles design has entered a leap forward period. It not only to people creating a rest, work, play and comfortable environment, but also for people to create imaginative space such as thinking, feeling people thinking. It's not just simple enjoyment of the material， there is mental pleasure and exchange. There is no space to replace the home textile design position and function. It is also can not calculate its value and impact. It is an important part in people's lives cannot leave behind. It take the static of the space into a dynamic, makes static objects have the vitality, are flowing in the culture and personality in the space, make life more dynamic. It tuned the relationship between people and things, man and man, man and space, people and the environment. Textile design became one of the links. It is the art of life and art of living.
Aimed for home textiles market survey has a problem: according to your favourite home textiles, are you looking forward to what it can to bring you the greatest feeling is? Most consumers choose the textile power by their own culture. Have participated in the Frankfurt International trade fair for home textiles designers after returning home, laments the domestic fighter levels are not low. Think of many buildings in the country, both references to the European style, is also integrated into the national elements. Although this is the external manifestations of art, but the connotation of art has a qualitative difference. This difference comes from the effects of cultural understanding of the meaning of textile design and performance. Is not based on knowledge of the cultural and historical connotations. Blindly pursue foreign design style is not of their own design based on space. In the rapid development of science and technology, today's era of knowledge sharing, maintaining national characteristics based on the countries cultural. Flash point in Chinese traditional elements let the world know, let the world accepted, then Chinese home textiles can find their true world. My thesis research direction of blue and white, from the perspective of East-West, history and culture propagation analysis in terms of inheritance and development of it, is a mining and exploration of history and culture. Analysis from the angle of the pattern and colour, its principles on formal beauty and decorative principles is the extension and development of textile pattern. Analysis of the relationship from the blue and white design and textiles is inheritance and development of better to how traditional elements and the enterprise product design and development. Open markets between East and West let China design better and faster towards the world market.
Aims: Why are you doing this? (max 100 words)
These are a general statement on the intent or direction for the research – why are you doing this? Refer to theoretical aims and practical ones where relevant. For example: How might this improve your design practice? How does it contribute to the discourses within your discipline? Who else might benefit from your research? Is it aimed at an academic or a wider audience? What do you hope your research will achieve? State your aims concisely.
I want to research this topic because I am very interested in blue and white pattern, cloth and design. I am also like Cultural practices in various countries. And it also closely linked with my course. I feel if I can understand it deeply it will improve later design work. When I am in practice and I can learn more about different material and cultural influences through design. I think that students studying interior design, product design and graphic design can benefit from its colour, pattern, material, skill and so on. My research will target an academic or public audience.
Objectives: What will you produce? (max 100 words)
Objectives are the things you will produce in doing the dissertation, e.g. a review of the relevant literature, a collection and discussion of people’s experiences/opinions, an assessment of a debate or collection of work etc.
Like your aims, these will help your tutor (and you) assess your success. They may change over time but aims and objectives are useful to keep you focussed. Again be concise here – you may want to use bullet points.
I want to let everyone know about a comprehensive review of Chinese traditional typical pattern and its culture, and focusing on a particular type Blue and White. I will examine the features of Chinese traditional pattern and see how it inherits and develops over time and how it affects contemporary fashion and textile design. I think that traditional things and modern things have important comparative qualities that will allow me to understand how these interact. I want blue and white design used in world. I find this research area very interesting.
Keywords (min 5 and max 10)
This should be a list of key terms that help us see if you are aware of where your research ‘sits’. For example, if you are writing on depictions of women in advertising your list might include ‘gender, feminism, representation, advertising, semiotics’. Keywords will help you when doing electronic searched for research materials.
Chinese traditional pattern , Culture, Blue and White, Globalization, textile design,
Annotated Bibliography (min of 24books, articles, websites)
Place here alphabetically a list of materials which you intent to use for you dissertation. Format these according to the Harvard Method!
Please make sure you have critically assessed these as being appropriate for your topic and write a short paragraph for each one summarising the content and its relevance to your research area.
Agins, T(1999) The end of fashion. New York. HarperCollins. It tells us how marketing changed the clothing business forever.
Bushell,S.W(1989) Oriental Ceramic Art. New York. Appelton. This book talks about Asian’s ceramic history and development.
Carswell.J(1985) Blue and White. USA. Chicago. This book talks about Chinese porcelain and its impact on the western world.
Clark,H(2000) Modernity at large. London. University of Minnesota Press. Cultural dimensions of globalization.
Craik,J(1994) The face of fashion. London and New York. Routledge. It is talk about Cultural studies in fashion.
Dawn,J(1993)Chinoiserie. London. Phaidon Press. This book talks about the different Chinese style art. Such as ceramic, furniture, textile and so on.
Donald, C(2007) Dress Sense. UK. Berg. It is tell us dress have some meaning and their different feeling.
Eugenia,P(2009) and Hazel C(2009) The Fabric of Cultures. USA. Routledge. This book in 11 chapter talk about the fashioning China style in the 21s century. It is really helpful for my research.
Fohn,C(2000) Blue and White. London. British museum press. It is talk about Chinese porcelain around the world.
Gao, H (1992) Chinese textile design. London. Penguin group. It is talk about history of Chinese textile design, like skills.
Gomperta,G.M(1980) Chinese Celadon Wares. London. Faber. This book also has some links about Blue and White.
Greensted, M (1982) and Peter,H(1982) Chinese Ceramics:The Indian Connection. London. Brostol Museum and Art Gallery.
It tells us Chinese ceramic also have effects on other country.
Guy,J(1990) Oriental Trade Ceramics in South East Asia. Singapore. Oxford university press. It tells us the ceramic trade history in south east Asia.
Hobson,R.L(1915)Chinese Pottery and Porcelain. London. Oxford university press. This book tells us the early history about Chinese pottery and porcelain.
Hoodrum,A(2005) The National Fabric. UK. Berg. It is tell us the fashion and globalization.
John,A(1951)Early Chinese Blue and White in the Museum of Eastern Art. London. Oriental. This book tells us some history of blue and white.
Loewe,M(1982) Chinese Ideas of Life and Death. London. Berg. This book talks about faith, myth and reason in the Han dynasty.
Patrizia,C(2004) The Clothed Body. UK. Berg. This book talks about the dress, language and communication. Language and dress are sign systems.
Rawson,J(1980) Ancient China. London. Berg. This book talks about art and archaeology.
Robert,C(1980) Spode’s Willow Pattern. London. Cassell Ltd. This book talks about pattern and design on pottery or porcelain.
Sandra,N(2003) Re-Orienting Fashion. UK. Berg. It is tell us the globalization of Asian dress.
Scheffer,Y.M.(1994) The changing map of European textile. London. Penguin group. It is talk about production and sourcing of textile and clothing.
S.J. V(1991) Chinese Pottery and Porcelain. London. British museum press. It is a book that survey of the development of ceramics from the Neolithic period to the present day. Assessing the roles pottery has played in each dynasty throughout the history of China.
Valery,M(1994) Chinese Clothing. USA. Oxford university press. This book talks about Chinese traditional clothing and pattern, skills.
2011年2月2日星期三
design study meeting
We have design study meeting on Wednesday lunch time. We talk about the post-consumer. Everyone got the mind map about their thinking. We think about student, recycling, DIY, resourceful garden, and so on. These are our photoes.
2011年1月25日星期二
Start of Semester 2 assignment 1
By the results of the tests I was strong in activist, moderate in reflector and theorist, very low in pragmatist. To be honest the results have not surprised to me. Evaluation of the test results are same evaluation by myself. I really like new things. So when I find some interesting things I will try it once as soon as possible. I enjoying to go straight in with practical methods. Then see what I can get. This is might because of my character, I am very impatient, do not have much patience. Therefore I like deal with things so quickly. I do not like take a long time to analyse something. That is my weak area I think. So sometimes I thought I was too naive, not impressed. So when I address the problem, I was not deeper. But I feel I am not low in pragmatist. Because I really like to see new ideas or theories can work in practice. Just because this I was strong in activist.
When our group have discussion meeting, we knew that the dominant mode in our team is activist and theorist. Each of us is based on the feelings of other people's personalities and former job to guess that what kind of person they are. However, to our surprise is why there are so many activists. That is so funny. Jenny is strong in activist and theorist. Rebecca is multi-modal. Stephen is very strong in activist and strong in theorist. Jonathan is very strong in theorist. Riben is strong in activist . Grant is very strong in activist and pragmatist. And me is also strong in activist. We think we have so many activists together maybe we need to take long time to think something in depth. Some activists should admire theorists that they have a spirit which can step by step to analyse stuff and be very logical. They are so patient with philosophy. And theorists also should stop thinking and speaking , they need action to get practice and outcomes.
When our group have discussion meeting, we knew that the dominant mode in our team is activist and theorist. Each of us is based on the feelings of other people's personalities and former job to guess that what kind of person they are. However, to our surprise is why there are so many activists. That is so funny. Jenny is strong in activist and theorist. Rebecca is multi-modal. Stephen is very strong in activist and strong in theorist. Jonathan is very strong in theorist. Riben is strong in activist . Grant is very strong in activist and pragmatist. And me is also strong in activist. We think we have so many activists together maybe we need to take long time to think something in depth. Some activists should admire theorists that they have a spirit which can step by step to analyse stuff and be very logical. They are so patient with philosophy. And theorists also should stop thinking and speaking , they need action to get practice and outcomes.
2010年11月30日星期二
Summary of one book and one article
The fabric of culture
Eugenia, P and Hazel（2009）USA, Routledge.
This book describes the interaction and relations between culture and the colth. Culture is a groups (can be a State, or national, corporate, family) over a given period of formation of thoughts, ideas, practices, customs and traditions, personalities, and representatives from the groups overall awareness of the radiation from all activities. Because of Geographical differences, it will bring up a different culture. Different culture will influences of the cloth deeply. It can affect many aspects, such as color, pattern, material and so on.
The main purpose of this book is analyzing the fabric of culture through Fashion, Identity, and Globalization. Fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history.
The fabric of Cultures examines the impact of fashion as a manufacturing industry and as a culture industry that shapes the identities of nation and cities in a cross-cultural perspective, within a global framework. It investigate local and global economies, cultures and identities and the book offers, for the first time, a wide spectrum of case studies which focus on a diversity of geographical spaces and places, from global capitals of fashion such as New York, to countries less known or identifiable for fashion such as contemporary Greece and Soviet Russia.
The most important information in this book is dressing through nation. For example, it told us the Indian cinema costume and the making of national fashion. After Indian independence, cinema played an integral role in public life not only as a source of entertainment. Cinema had a particularly influential impact in metropolitan areas, where increasingly women were entering the public sector. Looking to film characters as models of the new order, urban woman will try this dress. Beyond the screen, film advertisements and magazines infiltrated the urban landscape, further integrating the cinematic image into daily life. Most critics have agreed that Antonioni’s films create a new cinematic language and visual poetry in which his characters, their identities, and their narratives dissolve. Clothing plays an integral part in this project. At first sight, this might seem an insurmountable contradiction since it is impossible not to acknowledge intimate links between dress and the formation of identity. It is , however, only an apparent paradox because what clothing does in Antonioni’s films is, on the one hand , to articulate the relationship between clothing and identity, and, on the other, to reveal, through fashion and cinema, how clothing becomes an integral part of cultural mediation. So clothes never simply an obvious and unambiguous representation of characters in film. Clothing participates in aesthetic process and journey with its texture, design, fabric, and cut.
The author also looking at fabric and fashion design in global. Goods are linked to material culture changing over time and space. Goods are traded in a globalized economy, both as commodities and as brands. Jeans are truly the palimpsest of cultural and technical capital formation. In fashion terms, jeans have been transformed from a classic item with archetypical features to a bearer of a wide range of style elements, entailing a complex grammar in which features can be endlessly recombined. The innovation pattern for postmodern jeans is truly global in its adoption by consumers, albeit with regional difference.
Chinese Textile Design
Gao Hanyu,(1992) Endland, Penguin group
The main purpose of this article is through Chinese cultural characteristics of different times to show the various textile design like patterns, materials, applications, skills, and so on. The author provides a detailed history of technological developments associated with the production of cloth and clothing. The author also makes full use of ancient Chinese texts in his discussion of the social and political significance of coloured and decorated fabrics throughout Chinese history. Some of the most important of these designs are illustrated in this beautiful volume in which the author , Gao Hanyu, an eminent Chinese scholar in the field of fabric technology, discusses all the significant archaeological material and uses it to explain the development of spinning, weaving, printing, dyeing and embroidery in China.
The most important information in this article is Cheongsam. It has gained associations with Chinese women during the twentieth century. Its history is bound up with social, economic, and political change, and with patterns of migration. As fashion today becomes increasingly international and multi-cultural, many designers are inspired by Chinese clothing and decorative motifs. Yet few people——western or Chinese——understand the historic significance of Chinese clothing. The author explore the evolution of Chinese dress, from the dragon robes and lotus shoes of the imperial era to the creation of new fashion like the cheongsam that symbolized modern Chinese identity. Cultures tend to have deep-seated preferences for particular kinds of colth, embracing both types of fiber and techniques of weaving-for examples, the preference of the Egyptians for linen, and of the Celts for woolen plaid twill. Such preferences reflect, in part, local differences in plant and animal fiber resources, but over time they become embedded in the notion of cultural identity itself. In China this phenomenon expressed itself very strongly as a preference for silk over all other kinds of cloth, and a general dislike of woolen cloth.
The author is also looking at how Chinese fashion influenced Western fashion. During the past decade alone, a host of designers from around the world have been inspired by visions of China. John Galliano did an entire collection for Christian Dior based on the ideas of Shang hai in the 1930s. indeed, ever since about 1993, the cheongsam has appeared regularly on French fashion runways. At that time as the cheongsam was becoming more universalized as a fashion statement, it was also being reclaimed as a signifier of cultural identity in China. At the same time, international travel became much easier, which the result that both fashion designers and consumers became more familiar with foreign dress. Throughout the 1950s and early 1960s western fashion designers occasionally utilized Chinese dress styles and design motifs. The cheongsam, in particular, achieved a certain popularity in the wake of the movie The world of Suzy Wrong.
Eugenia, P and Hazel（2009）USA, Routledge.
This book describes the interaction and relations between culture and the colth. Culture is a groups (can be a State, or national, corporate, family) over a given period of formation of thoughts, ideas, practices, customs and traditions, personalities, and representatives from the groups overall awareness of the radiation from all activities. Because of Geographical differences, it will bring up a different culture. Different culture will influences of the cloth deeply. It can affect many aspects, such as color, pattern, material and so on.
The main purpose of this book is analyzing the fabric of culture through Fashion, Identity, and Globalization. Fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history.
The fabric of Cultures examines the impact of fashion as a manufacturing industry and as a culture industry that shapes the identities of nation and cities in a cross-cultural perspective, within a global framework. It investigate local and global economies, cultures and identities and the book offers, for the first time, a wide spectrum of case studies which focus on a diversity of geographical spaces and places, from global capitals of fashion such as New York, to countries less known or identifiable for fashion such as contemporary Greece and Soviet Russia.
The most important information in this book is dressing through nation. For example, it told us the Indian cinema costume and the making of national fashion. After Indian independence, cinema played an integral role in public life not only as a source of entertainment. Cinema had a particularly influential impact in metropolitan areas, where increasingly women were entering the public sector. Looking to film characters as models of the new order, urban woman will try this dress. Beyond the screen, film advertisements and magazines infiltrated the urban landscape, further integrating the cinematic image into daily life. Most critics have agreed that Antonioni’s films create a new cinematic language and visual poetry in which his characters, their identities, and their narratives dissolve. Clothing plays an integral part in this project. At first sight, this might seem an insurmountable contradiction since it is impossible not to acknowledge intimate links between dress and the formation of identity. It is , however, only an apparent paradox because what clothing does in Antonioni’s films is, on the one hand , to articulate the relationship between clothing and identity, and, on the other, to reveal, through fashion and cinema, how clothing becomes an integral part of cultural mediation. So clothes never simply an obvious and unambiguous representation of characters in film. Clothing participates in aesthetic process and journey with its texture, design, fabric, and cut.
The author also looking at fabric and fashion design in global. Goods are linked to material culture changing over time and space. Goods are traded in a globalized economy, both as commodities and as brands. Jeans are truly the palimpsest of cultural and technical capital formation. In fashion terms, jeans have been transformed from a classic item with archetypical features to a bearer of a wide range of style elements, entailing a complex grammar in which features can be endlessly recombined. The innovation pattern for postmodern jeans is truly global in its adoption by consumers, albeit with regional difference.
Chinese Textile Design
Gao Hanyu,(1992) Endland, Penguin group
The main purpose of this article is through Chinese cultural characteristics of different times to show the various textile design like patterns, materials, applications, skills, and so on. The author provides a detailed history of technological developments associated with the production of cloth and clothing. The author also makes full use of ancient Chinese texts in his discussion of the social and political significance of coloured and decorated fabrics throughout Chinese history. Some of the most important of these designs are illustrated in this beautiful volume in which the author , Gao Hanyu, an eminent Chinese scholar in the field of fabric technology, discusses all the significant archaeological material and uses it to explain the development of spinning, weaving, printing, dyeing and embroidery in China.
The most important information in this article is Cheongsam. It has gained associations with Chinese women during the twentieth century. Its history is bound up with social, economic, and political change, and with patterns of migration. As fashion today becomes increasingly international and multi-cultural, many designers are inspired by Chinese clothing and decorative motifs. Yet few people——western or Chinese——understand the historic significance of Chinese clothing. The author explore the evolution of Chinese dress, from the dragon robes and lotus shoes of the imperial era to the creation of new fashion like the cheongsam that symbolized modern Chinese identity. Cultures tend to have deep-seated preferences for particular kinds of colth, embracing both types of fiber and techniques of weaving-for examples, the preference of the Egyptians for linen, and of the Celts for woolen plaid twill. Such preferences reflect, in part, local differences in plant and animal fiber resources, but over time they become embedded in the notion of cultural identity itself. In China this phenomenon expressed itself very strongly as a preference for silk over all other kinds of cloth, and a general dislike of woolen cloth.
The author is also looking at how Chinese fashion influenced Western fashion. During the past decade alone, a host of designers from around the world have been inspired by visions of China. John Galliano did an entire collection for Christian Dior based on the ideas of Shang hai in the 1930s. indeed, ever since about 1993, the cheongsam has appeared regularly on French fashion runways. At that time as the cheongsam was becoming more universalized as a fashion statement, it was also being reclaimed as a signifier of cultural identity in China. At the same time, international travel became much easier, which the result that both fashion designers and consumers became more familiar with foreign dress. Throughout the 1950s and early 1960s western fashion designers occasionally utilized Chinese dress styles and design motifs. The cheongsam, in particular, achieved a certain popularity in the wake of the movie The world of Suzy Wrong.
Dissertation proposal
DHTP Dissertation Proposal Part 1
We have produced a template for your dissertation proposal, a copy of which is reproduced below. The sections relate closely to the work you did in Level 2 where you investigated a topic by doing a literature search, and using primary research methods such as observations and experiments.
Submission deadline for the final proposal: 5 pm Wed 1 December 2010 - submit via email to your supervisor and to Safe Assignment on the VLE
Please download this form from the VLE.
Please save as a word.doc and change the title to your full name, e.g.: John Smith.doc - do not email the proposal without changing the file name.
Sample template
Student Name Sun yi nan
Course Textile design
Supervisor name Andrew Milligan
Email address Y.W.Sun@dundee.ac.uk
Date 26/11/2010
Using the template
Enter your personal details in the box above. The email address will be used by your tutor and others to contact you. You must check this regularly for news on tutorial dates.
Read each heading carefully and type into the text box below.
Email your proposal to your supervisor and load it up on Safe Assignment of the VLE
Total word count: between 250-500 words (excluding bibliography).
Working title (max 25 words)
This should give an outline of your research topic. If appropriate use a title and a subtitle. You don’t have to be too specific at first and you don’t have to word it like a question - but you can if you want.
An exploration of Chinese traditional clothes like Cheongsam and their impact on modern fashion
Summary (max 250 words)
Here you should indicate what you already know about the topic. You should already have done some reading around it. Summarise this reading with regards to the research topic and describe the research area.
Through investigating literature sources intent to exam fabric, culture and Chinese textile design and Its impact on modern fashion. This will include Chinese traditional cultural crafts such as Paper-cutting, painting, calligraphy, music, dance, drama, arts and crafts, cloth and fashion. I will also investigate the characteristics of eastern and western textile design, and globalization to explore their affect on each other and how Chinese traditional dress affect modern fashion. I understand that Culture is broad and complex area can be defined as groups (can be a State, or national, corporate, family), formation of thoughts, ideas, practices, customs and traditions, personalities, and representatives behaviours. And I know fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history. The most important information in these book is dressing to express national and cultural identity. Different factors can affect the culture of different countries. This is also reflected in the textile design. Such as Indian Antonioni’s films. China has long history and traditional arts heritage. Each age has its own different cultural identities. Local people have a different geographical, ethnic and religious culture that accumulate over thousands. Cheongsam is the representative costume applied in the textile design. Cheongsam also has a great inspiration on Western fashion design. Many Western fashion designer's works have joined the Cheongsam elements. Like Dior.
(Continued over)
Aims: Why are you doing this? (max 100 words)
These are a general statement on the intent or direction for the research – why are you doing this? Refer to theoretical aims and practical ones where relevant. For example: How might this improve your design practice? How does it contribute to the discourses within your discipline? Who else might benefit from your research? Is it aimed at an academic or a wider audience? What do you hope your research will achieve? State your aims concisely.
I want to research this topic because I am very interested in colth and fashion. I am also like Cultural practices in various countries . And it also closely linked with my course. I feel if I can understand it deeply it will improve later design work. When in practice I can learn more about different material and cultural influences through fashion. I think that studying interior design students, product design students and graphic design students can benefit from its colour, pattern, material, skill and so on. My research will target an academic or public audience.
Objectives: What will you produce? (max 100 words)
Objectives are the things you will produce in doing the dissertation, e.g. a review of the relevant literature, a collection and discussion of people’s experiences/opinions, an assessment of a debate or collection of work etc.
Like your aims, these will help your tutor (and you) assess your success. They may change over time but aims and objectives are useful to keep you focussed. Again be concise here – you may want to use bullet points.
I want to let everyone know about a comprehensive review of Chinese traditional costumes . and focusing in a particular type Cheongsam. I will examine the features of Chinese traditional costume and see how it inherits and develops over time and how it affects contemporary fashion. I think that traditional things and modern things have important comparative qualities that will allow me to understand how these interact. I find this research area very interesting.
Keywords (min 5 and max 10)
This should be a list of key terms that help us see if you are aware of where your research ‘sits’. For example, if you are writing on depictions of women in advertising your list might include ‘gender, feminism, representation, advertising, semiotics’. Keywords will help you when doing electronic searched for research materials.
Chinese traditional dress, Culture, fabric,western fashion, Globalization, textile design,
Annotated Bibliography (min of 12 books, articles, websites)
Place here alphabetically a list of materials which you intent to use for you dissertation. Format these according to the Harvard Method!
Please make sure you have critically assessed these as being appropriate for your topic and write a short paragraph for each one summarising the content and its relevance to your research area.
Agins, T(1999) The end of fashion. New York. HarperCollins. It told us how marketing changed the clothing business forever.
Clark, H (1999) The Cheongsam. England. Penguin Group. This book talk about Chinese Cheongsam during Qing dynasty.
Clark, J (1994) The face of Fashion. England. Milton Park. It is mentioned something about modern fashion.
Craik,J(1994) The face of fashion. London and New York. Routledge. It is talk about Cultural studies in fashion.
Clark,H(2000) Modernisy at large. London. University of Minnesota Press. Cultural demensions of globalization.
Eugenia,P(2009) and Hazel C(2009) The Fabric of Cultures. USA. Routledge. This book in 11 chapter talk about the fashioning China style in the 21s century. It is really helpful for my research.
Gao, H (1992) Chinese textile design. London. Penguin group. It is talk about history of Chinese textile design, like skills.
Goodrum, A (2005) The national fabric. Oxford. Berg. This book talk about fashion and globalization.
In the mood for love, 2000,[Film] Directed by Kar Wai Wong， China. The film shows different beauty about women when they wearing Cheongsam.
Scheffer,Y.M.(1994) The changing map of European textile. It is talk about production and sourcing of textile and clothing.
Shanghai website, 2002,New York’s shanghai Tang will do for all things Chinese What Ralph Lauren’s clothing and accessories did for Americans. http://www.goodnewsbroadcast.com/shanghaiTang.html ( accessed November 22, 2002)
Steele,V, and Haas,K(1995) China Chic. London. Yale University Press. This book talk about East meets West.
We have produced a template for your dissertation proposal, a copy of which is reproduced below. The sections relate closely to the work you did in Level 2 where you investigated a topic by doing a literature search, and using primary research methods such as observations and experiments.
Submission deadline for the final proposal: 5 pm Wed 1 December 2010 - submit via email to your supervisor and to Safe Assignment on the VLE
Please download this form from the VLE.
Please save as a word.doc and change the title to your full name, e.g.: John Smith.doc - do not email the proposal without changing the file name.
Sample template
Student Name Sun yi nan
Course Textile design
Supervisor name Andrew Milligan
Email address Y.W.Sun@dundee.ac.uk
Date 26/11/2010
Using the template
Enter your personal details in the box above. The email address will be used by your tutor and others to contact you. You must check this regularly for news on tutorial dates.
Read each heading carefully and type into the text box below.
Email your proposal to your supervisor and load it up on Safe Assignment of the VLE
Total word count: between 250-500 words (excluding bibliography).
Working title (max 25 words)
This should give an outline of your research topic. If appropriate use a title and a subtitle. You don’t have to be too specific at first and you don’t have to word it like a question - but you can if you want.
An exploration of Chinese traditional clothes like Cheongsam and their impact on modern fashion
Summary (max 250 words)
Here you should indicate what you already know about the topic. You should already have done some reading around it. Summarise this reading with regards to the research topic and describe the research area.
Through investigating literature sources intent to exam fabric, culture and Chinese textile design and Its impact on modern fashion. This will include Chinese traditional cultural crafts such as Paper-cutting, painting, calligraphy, music, dance, drama, arts and crafts, cloth and fashion. I will also investigate the characteristics of eastern and western textile design, and globalization to explore their affect on each other and how Chinese traditional dress affect modern fashion. I understand that Culture is broad and complex area can be defined as groups (can be a State, or national, corporate, family), formation of thoughts, ideas, practices, customs and traditions, personalities, and representatives behaviours. And I know fashion is both public and private, material and symbolic, always caught within the lived experience and providing an incredible tool to study culture and history. The most important information in these book is dressing to express national and cultural identity. Different factors can affect the culture of different countries. This is also reflected in the textile design. Such as Indian Antonioni’s films. China has long history and traditional arts heritage. Each age has its own different cultural identities. Local people have a different geographical, ethnic and religious culture that accumulate over thousands. Cheongsam is the representative costume applied in the textile design. Cheongsam also has a great inspiration on Western fashion design. Many Western fashion designer's works have joined the Cheongsam elements. Like Dior.
(Continued over)
Aims: Why are you doing this? (max 100 words)
These are a general statement on the intent or direction for the research – why are you doing this? Refer to theoretical aims and practical ones where relevant. For example: How might this improve your design practice? How does it contribute to the discourses within your discipline? Who else might benefit from your research? Is it aimed at an academic or a wider audience? What do you hope your research will achieve? State your aims concisely.
I want to research this topic because I am very interested in colth and fashion. I am also like Cultural practices in various countries . And it also closely linked with my course. I feel if I can understand it deeply it will improve later design work. When in practice I can learn more about different material and cultural influences through fashion. I think that studying interior design students, product design students and graphic design students can benefit from its colour, pattern, material, skill and so on. My research will target an academic or public audience.
Objectives: What will you produce? (max 100 words)
Objectives are the things you will produce in doing the dissertation, e.g. a review of the relevant literature, a collection and discussion of people’s experiences/opinions, an assessment of a debate or collection of work etc.
Like your aims, these will help your tutor (and you) assess your success. They may change over time but aims and objectives are useful to keep you focussed. Again be concise here – you may want to use bullet points.
I want to let everyone know about a comprehensive review of Chinese traditional costumes . and focusing in a particular type Cheongsam. I will examine the features of Chinese traditional costume and see how it inherits and develops over time and how it affects contemporary fashion. I think that traditional things and modern things have important comparative qualities that will allow me to understand how these interact. I find this research area very interesting.
Keywords (min 5 and max 10)
This should be a list of key terms that help us see if you are aware of where your research ‘sits’. For example, if you are writing on depictions of women in advertising your list might include ‘gender, feminism, representation, advertising, semiotics’. Keywords will help you when doing electronic searched for research materials.
Chinese traditional dress, Culture, fabric,western fashion, Globalization, textile design,
Annotated Bibliography (min of 12 books, articles, websites)
Place here alphabetically a list of materials which you intent to use for you dissertation. Format these according to the Harvard Method!
Please make sure you have critically assessed these as being appropriate for your topic and write a short paragraph for each one summarising the content and its relevance to your research area.
Agins, T(1999) The end of fashion. New York. HarperCollins. It told us how marketing changed the clothing business forever.
Clark, H (1999) The Cheongsam. England. Penguin Group. This book talk about Chinese Cheongsam during Qing dynasty.
Clark, J (1994) The face of Fashion. England. Milton Park. It is mentioned something about modern fashion.
Craik,J(1994) The face of fashion. London and New York. Routledge. It is talk about Cultural studies in fashion.
Clark,H(2000) Modernisy at large. London. University of Minnesota Press. Cultural demensions of globalization.
Eugenia,P(2009) and Hazel C(2009) The Fabric of Cultures. USA. Routledge. This book in 11 chapter talk about the fashioning China style in the 21s century. It is really helpful for my research.
Gao, H (1992) Chinese textile design. London. Penguin group. It is talk about history of Chinese textile design, like skills.
Goodrum, A (2005) The national fabric. Oxford. Berg. This book talk about fashion and globalization.
In the mood for love, 2000,[Film] Directed by Kar Wai Wong， China. The film shows different beauty about women when they wearing Cheongsam.
Scheffer,Y.M.(1994) The changing map of European textile. It is talk about production and sourcing of textile and clothing.
Shanghai website, 2002,New York’s shanghai Tang will do for all things Chinese What Ralph Lauren’s clothing and accessories did for Americans. http://www.goodnewsbroadcast.com/shanghaiTang.html ( accessed November 22, 2002)
Steele,V, and Haas,K(1995) China Chic. London. Yale University Press. This book talk about East meets West.
2010年10月27日星期三
Assignment 3
we have a group meeting in production design studio yesterday to take a talk about each person's dissertation. Everyone try to think about how to start this hard work. we all choose some topics and find some interesting things that we want to explore. It was pretty uesful when after listen to other people's thinking. Cause we can get some good ideas that we never think about it.
Then i still want try to do culcure and design. It will have links with my major textile design. It will be interesting related with my project. i can make fabric samples and compare them see what happening. It will be fun. Then i did this mind map. I hope it will help me on my dissertation.
2010年10月5日星期二
Wiki
Culture and design
Sun yi nan
Textile design 3 rd year
My topic is culture and design. I am a Chinese student. My specialty is textile design. I understand the State of culture . I also learned in the UK for a year's time. So I want to explore the textile, clothing cultural design between China and UK. I want to think about Chinese culture design and British cultural differences and common points of the design. Even the East and West culture design.
So I refer to a lot of books, the Internet looking for information. Hope I can get more information and inspiration and help me get better overview.
Culture is the survival by people, each kind of cultural elements are produced to meet the needs of humanity. So that the culture is the life, its centre is the man. Design and culture have inextricably linked. Eugenia(2009) and Hazel(2009) have both shown that “Design by thinking to create and embody the requirements of the human spirit, its purpose is to improve people's material life style, creating a new culture.” Since our creation in real life is a continuation of the cultural activities, and then create should need to look for from a traditional culture. National culture is influenced by the national natural conditions and social conditions. it has own unique language, ways of thinking, values and aesthetics.
Culture is manifested through a specific form , but this time the cultural forms, on the one hand is based on the cultural significance of nationality, on the other hand, is the embodiment of the modern features.
China is a ancient country with a lot of civilization. China's long history of costume design from the primitive society, Shang, autumn, Northern and Southern dynasties, Tang, Xia, Jin and Yuan, Ming and Qing dynasties, to modern all have distinctive features.
Chinese and Western fashion culture connotation has a big difference. Chinese fashion design is a single-source of culture, in its formation process, has closely linked with China’s rites. It has strong social and political ethics tendencies. In their development process, they have conservative thinking. Chinese clothing culture is stress on the line and pattern meaning. It gives a implicit feeling
Such as, Autumn clothing (221 BC ～770 ) clothes very long to knee, there are several-meter-long sleeves, waist have sash and people dress boots. Both women and men all wearing the jade in waist.
Dress of the Tang dynasty (581-907) because of economic and cultural prosperity . so clothing develop fast, are unfolded unprecedented splendid spectacle. The silk with various colors . And have Special patterns like the pheasant, bucket sheep, squamous . There are five colours of embroidery. Tang dynasties, the most fashionable woman is dressed ru skirt . It is blouse with long skirts, dress waist high in the sash .
Modern costume (1912) women's favorite is qipao. Robes of high neck, the elegant and dignified feeling, slightly tight waist and hip loins reflects the curve; in particular, open on both sides of the gap, when woman walking the skirt horn will flying, has a lighter feeling .
Daily wear can be selected to spend in cotton fine cloth made, both simple and generous. Selection of flowers, pigment cell, strips made , can demonstrate the gentle, steady style. Selection of woven cotton satin, velvet, is use for greeting. It is the most luxurious costumes in party. In recent years, batik, Freehand, and other process used to make the cheongsam gown " joined the ranks of the upscale fashion. Cheongsam in sleeve type has a sleeveless, short sleeve, mid sleeve and long sleeve; there are traditional collar and changes without collar; improved traditional dress is also favored by the ladies.
Japanese fashion designer Issey Miyaka is the earliest Asian designer that introduce Oriental color design concepts into Western. He created the "wrinkle series" became the flag of the Oriental culture. Issey Miyake works, not directly to placed East of the element symbol in the fashion, but rather deep understanding of the Oriental culture, humble, natural heritage, and place it into the garment. All of these, from his own traditional cultural connotation understanding, that is what he said, wanted to "discover the spirit of the potential behind the kimono."
However, Western fashion design focusing on the form, that form is content. The clothing is a special body art. In their development process, style changes but obvious. Variation and innovative more than inheritance and continuity.
Western fashion culture have so many derived. It originated in ancient Greek culture, Roman culture, influenced by that painting, sculpture and other artistic. In the history of Western clothing, early 13th century, has established the stereoscopic 3-d cutting method. And the invention of the three-dimensional cutting and the use of a watershed between Eastern and Western clothing, from this, Western clothing become stereoscopic, contour becomes flexible.
Western apparel design uses three-dimensional cutting methods-draping method depending on the human body for at least a tetrahedron polyhedron. attentive towards the human body from top to bottom and front to rear of various aspects of the relationship, use undulating Plait, get clothing that culminated with a three-dimensional body with a three-dimensional effect.
Western apparel design of transliteration collar and pleats collar rotavirus (like a fan-like around the neck) applying so wider.
Western fashion design decoration is a three-dimensional form .its wonderful place: the first is the three-dimensional structure , natural balanced; the second is a decorative effect with the aesthetic mentality, because rich layers, collocation, overlapping surface space are interspersed with interesting effects, easy to stir the ornamental beauty.
And China as the representatives of the Oriental culture have the beauty of vaguely. They through the design, layout, colors, lines give the overall harmony and beauty, a great deal with embroidery, Ribbon, patterns and other decorations. Express their rich meaning and imagination.
Eastern and Western dress design completely are two different cultures to reflect and, therefore, the style of costume culture formation and national customs, history and culture of origin are closely linked. Visible clothing is a kind of culture.
You may know, the Chinese hostess costumes are very traditional. Some are using China Red elements. Some are using buckles. Some use Chinese traditional pattern. However British hostess costume stereoscopic effect is very strong. This is a very typical due to the differences between Eastern and Western cultural history led to the design.
Another example, I buy clothes in the UK, the same model， in the United Kingdom is feel more large, I wear ill-fitting. Because of the geographical differences, East and West is different. Westerners are tall. So clothing model design is relatively large. It is so interesting.
Western culture and Eastern culture have the big difference .It mainly manifested in its space awareness. Western space on behalf of the entity, the East is an artistic space. look at the left side, this is an ancient Chinese form of terra cotta pots, it does not fit in the crop, just imagine when it walking, clothes and clothes inside the space, it is flowing out of that big wide robe sleeves, free.
The right side of this picture is the French designer Dior in 1947, he released a new style, has been around and leads the fashion of Paris, this characteristic is the West's narrow clothing system. Clothing with the perfect combination of the human body, there is no space. It does not have a free charm. The West must focus on the entities, and Oriental emphasis on non-void. Now take a look at the exact and fuzzy.
This dress is attached, no sleeve of the crop. When person who wears it, There has many folds at the axillas. Only emphasizes the space between clothes and the body. this is also a unique Oriental crop out of a phenomenon. Left this one is a designer called Armani. Such a power has done to the extreme. Clothes after the person with the human body is exactly, and harmony, but these clothes can only be hang to there, it should not be folded, if you put in the trunk, then when you get out to wear , there are a lot of wrinkles, it will not be able to wear very spiritual, very nice.
Today more Westerners are astonished at the magnificent ancient Oriental culture, loving those exudes a unique charm of Chinese traditional arts (calligraphy, painting, theatre, paper, embroidery, etc.). In these arts, with completely different from the Western Oriental life philosophy and aesthetics, reflected in fashion, art, clothing, particularly focusing on the spirit and temperament. For example, solemn, generous, implied a clothing style that reflects the golden mean of Confucianism; nature, comfortable, confident to reflect seeks Taoist philosophy, etc.
There are a lot of Chinese elements. For example, the thought of Chinese elements is the Red Lantern, the Opera, Dragon, qipao, Chinese Kung Fu, Chinese Red. The style is usually, big with flaps, buckles and collar. Patterns are mostly traditional disk flowers. Colors are red and yellow. The overall performance is indirectness, clean and elegant style.
In the long history of clothing throughout, we occasionally see the fusion of Eastern and Western fashion style, and this integration will often gave a dazzling light, and even affects society . Opening of the "Silk Road" from the distant Oriental China's exquisite silk appeared in ancient Rome, it was so fascinated by ancient Roman nobility, the ladies who are willing to spend on expensive price to achieve their aim of fashion.
But just last year, in 2004/2005 winter Yves Saint Laurent Rive Gauche advanced clothing models along with the Chinese movie music coming. They wear Assorted bright imitated traditional-style like Qipao ,wearing plate with butterfly buttons trousers. Dragon Totem, China flowers, Brocade, embroidery, fabrics and weaving techniques, show extreme luxury, brilliant and beautiful Chinese style. Today is world renowned American designer Tom Ford use luxury China wind to give YSL drew a heavyweight period.
With the acceleration of the process of globalization, fashion trends without borders are obvious. Guy(2000) states that “Design has become a global phenomenon.” China fashion designers use Western designers design practices. Italian fashion guru George Armani has always had a passion for Asia. 2005 spring/summer fashion series use of Chinese calligraphy, cloaks, straw and other elements. Last summer, he designed costumes used Chinese elements with popular elements of the last century in France, plate buckle, Chinese knot, tassels and other details on the right.
Culture and design are inseparable. We want to make more use of elements to create more design work.
Bibliography:
Eugenia, P(2009) and Hazel ,C(2009) the fabric of culture
Winter, A(2008) the fabric of culture
Breward, C and Evans,C(2005) fashion and modernity
Agins, Teri(1999) the end of fashion
Guy, J((2000) the culture of design
Gao, Hanyu(1992) Chinese textile design
Armani’s cloth pictures at: http://www.giorgioarmani.com/index.html
terra cotta pots pictures at :
http://www.zh5000.com/js/daqi/dayong/dy-online-0003.htm
Sun yi nan
Textile design 3 rd year
My topic is culture and design. I am a Chinese student. My specialty is textile design. I understand the State of culture . I also learned in the UK for a year's time. So I want to explore the textile, clothing cultural design between China and UK. I want to think about Chinese culture design and British cultural differences and common points of the design. Even the East and West culture design.
So I refer to a lot of books, the Internet looking for information. Hope I can get more information and inspiration and help me get better overview.
Culture is the survival by people, each kind of cultural elements are produced to meet the needs of humanity. So that the culture is the life, its centre is the man. Design and culture have inextricably linked. Eugenia(2009) and Hazel(2009) have both shown that “Design by thinking to create and embody the requirements of the human spirit, its purpose is to improve people's material life style, creating a new culture.” Since our creation in real life is a continuation of the cultural activities, and then create should need to look for from a traditional culture. National culture is influenced by the national natural conditions and social conditions. it has own unique language, ways of thinking, values and aesthetics.
Culture is manifested through a specific form , but this time the cultural forms, on the one hand is based on the cultural significance of nationality, on the other hand, is the embodiment of the modern features.
China is a ancient country with a lot of civilization. China's long history of costume design from the primitive society, Shang, autumn, Northern and Southern dynasties, Tang, Xia, Jin and Yuan, Ming and Qing dynasties, to modern all have distinctive features.
Chinese and Western fashion culture connotation has a big difference. Chinese fashion design is a single-source of culture, in its formation process, has closely linked with China’s rites. It has strong social and political ethics tendencies. In their development process, they have conservative thinking. Chinese clothing culture is stress on the line and pattern meaning. It gives a implicit feeling
Such as, Autumn clothing (221 BC ～770 ) clothes very long to knee, there are several-meter-long sleeves, waist have sash and people dress boots. Both women and men all wearing the jade in waist.
Dress of the Tang dynasty (581-907) because of economic and cultural prosperity . so clothing develop fast, are unfolded unprecedented splendid spectacle. The silk with various colors . And have Special patterns like the pheasant, bucket sheep, squamous . There are five colours of embroidery. Tang dynasties, the most fashionable woman is dressed ru skirt . It is blouse with long skirts, dress waist high in the sash .
Modern costume (1912) women's favorite is qipao. Robes of high neck, the elegant and dignified feeling, slightly tight waist and hip loins reflects the curve; in particular, open on both sides of the gap, when woman walking the skirt horn will flying, has a lighter feeling .
Daily wear can be selected to spend in cotton fine cloth made, both simple and generous. Selection of flowers, pigment cell, strips made , can demonstrate the gentle, steady style. Selection of woven cotton satin, velvet, is use for greeting. It is the most luxurious costumes in party. In recent years, batik, Freehand, and other process used to make the cheongsam gown " joined the ranks of the upscale fashion. Cheongsam in sleeve type has a sleeveless, short sleeve, mid sleeve and long sleeve; there are traditional collar and changes without collar; improved traditional dress is also favored by the ladies.
Japanese fashion designer Issey Miyaka is the earliest Asian designer that introduce Oriental color design concepts into Western. He created the "wrinkle series" became the flag of the Oriental culture. Issey Miyake works, not directly to placed East of the element symbol in the fashion, but rather deep understanding of the Oriental culture, humble, natural heritage, and place it into the garment. All of these, from his own traditional cultural connotation understanding, that is what he said, wanted to "discover the spirit of the potential behind the kimono."
However, Western fashion design focusing on the form, that form is content. The clothing is a special body art. In their development process, style changes but obvious. Variation and innovative more than inheritance and continuity.
Western fashion culture have so many derived. It originated in ancient Greek culture, Roman culture, influenced by that painting, sculpture and other artistic. In the history of Western clothing, early 13th century, has established the stereoscopic 3-d cutting method. And the invention of the three-dimensional cutting and the use of a watershed between Eastern and Western clothing, from this, Western clothing become stereoscopic, contour becomes flexible.
Western apparel design uses three-dimensional cutting methods-draping method depending on the human body for at least a tetrahedron polyhedron. attentive towards the human body from top to bottom and front to rear of various aspects of the relationship, use undulating Plait, get clothing that culminated with a three-dimensional body with a three-dimensional effect.
Western apparel design of transliteration collar and pleats collar rotavirus (like a fan-like around the neck) applying so wider.
Western fashion design decoration is a three-dimensional form .its wonderful place: the first is the three-dimensional structure , natural balanced; the second is a decorative effect with the aesthetic mentality, because rich layers, collocation, overlapping surface space are interspersed with interesting effects, easy to stir the ornamental beauty.
And China as the representatives of the Oriental culture have the beauty of vaguely. They through the design, layout, colors, lines give the overall harmony and beauty, a great deal with embroidery, Ribbon, patterns and other decorations. Express their rich meaning and imagination.
Eastern and Western dress design completely are two different cultures to reflect and, therefore, the style of costume culture formation and national customs, history and culture of origin are closely linked. Visible clothing is a kind of culture.
You may know, the Chinese hostess costumes are very traditional. Some are using China Red elements. Some are using buckles. Some use Chinese traditional pattern. However British hostess costume stereoscopic effect is very strong. This is a very typical due to the differences between Eastern and Western cultural history led to the design.
Another example, I buy clothes in the UK, the same model， in the United Kingdom is feel more large, I wear ill-fitting. Because of the geographical differences, East and West is different. Westerners are tall. So clothing model design is relatively large. It is so interesting.
Western culture and Eastern culture have the big difference .It mainly manifested in its space awareness. Western space on behalf of the entity, the East is an artistic space. look at the left side, this is an ancient Chinese form of terra cotta pots, it does not fit in the crop, just imagine when it walking, clothes and clothes inside the space, it is flowing out of that big wide robe sleeves, free. 
The right side of this picture is the French designer Dior in 1947, he released a new style, has been around and leads the fashion of Paris, this characteristic is the West's narrow clothing system. Clothing with the perfect combination of the human body, there is no space. It does not have a free charm. The West must focus on the entities, and Oriental emphasis on non-void. Now take a look at the exact and fuzzy.
This dress is attached, no sleeve of the crop. When person who wears it, There has many folds at the axillas. Only emphasizes the space between clothes and the body. this is also a unique Oriental crop out of a phenomenon. Left this one is a designer called Armani. Such a power has done to the extreme. Clothes after the person with the human body is exactly, and harmony, but these clothes can only be hang to there, it should not be folded, if you put in the trunk, then when you get out to wear , there are a lot of wrinkles, it will not be able to wear very spiritual, very nice.Today more Westerners are astonished at the magnificent ancient Oriental culture, loving those exudes a unique charm of Chinese traditional arts (calligraphy, painting, theatre, paper, embroidery, etc.). In these arts, with completely different from the Western Oriental life philosophy and aesthetics, reflected in fashion, art, clothing, particularly focusing on the spirit and temperament. For example, solemn, generous, implied a clothing style that reflects the golden mean of Confucianism; nature, comfortable, confident to reflect seeks Taoist philosophy, etc.
There are a lot of Chinese elements. For example, the thought of Chinese elements is the Red Lantern, the Opera, Dragon, qipao, Chinese Kung Fu, Chinese Red. The style is usually, big with flaps, buckles and collar. Patterns are mostly traditional disk flowers. Colors are red and yellow. The overall performance is indirectness, clean and elegant style.
In the long history of clothing throughout, we occasionally see the fusion of Eastern and Western fashion style, and this integration will often gave a dazzling light, and even affects society . Opening of the "Silk Road" from the distant Oriental China's exquisite silk appeared in ancient Rome, it was so fascinated by ancient Roman nobility, the ladies who are willing to spend on expensive price to achieve their aim of fashion.
But just last year, in 2004/2005 winter Yves Saint Laurent Rive Gauche advanced clothing models along with the Chinese movie music coming. They wear Assorted bright imitated traditional-style like Qipao ,wearing plate with butterfly buttons trousers. Dragon Totem, China flowers, Brocade, embroidery, fabrics and weaving techniques, show extreme luxury, brilliant and beautiful Chinese style. Today is world renowned American designer Tom Ford use luxury China wind to give YSL drew a heavyweight period.
With the acceleration of the process of globalization, fashion trends without borders are obvious. Guy(2000) states that “Design has become a global phenomenon.” China fashion designers use Western designers design practices. Italian fashion guru George Armani has always had a passion for Asia. 2005 spring/summer fashion series use of Chinese calligraphy, cloaks, straw and other elements. Last summer, he designed costumes used Chinese elements with popular elements of the last century in France, plate buckle, Chinese knot, tassels and other details on the right.
Culture and design are inseparable. We want to make more use of elements to create more design work.
Bibliography:
Eugenia, P(2009) and Hazel ,C(2009) the fabric of culture
Winter, A(2008) the fabric of culture
Breward, C and Evans,C(2005) fashion and modernity
Agins, Teri(1999) the end of fashion
Guy, J((2000) the culture of design
Gao, Hanyu(1992) Chinese textile design
Armani’s cloth pictures at: http://www.giorgioarmani.com/index.html
terra cotta pots pictures at :
http://www.zh5000.com/js/daqi/dayong/dy-online-0003.htm
2010年10月3日星期日
mind map
I did the mind map about Wiki. I just hope it can help me to write the Wiki.
My topic is culture and design.
I want to explore the textile, clothing cultural design between China and UK. I want to think about Chinese culture design and British cultural differences and common points of the design.
My topic is culture and design.
I want to explore the textile, clothing cultural design between China and UK. I want to think about Chinese culture design and British cultural differences and common points of the design.
wiki meeting
Last week we have a new project called Wiki. My eight members and me in a small bar to talk each task together. We discussed a lot, give each student different recommendations. Finally we establish everyone’s subject. Next step we need to do a lot of things, like view the books, gather information, to expand our knowledge, and then to write a thesis. It is not a hard task. Hope everyone enjoy it.
2010年3月29日星期一
Innovators , Strivers
I Choose a design project from this year is Called culture project. And i Choose two “types” from the table are Innovators and Strivers. Innovator is self-confident risk-takers, seeking new and different things,setting their own targets to achieve. When I started the culture project , I took a search of information, interviews then got some conclusions. Such as Some typical example of cultural art forms, opera, church and so on. First, from among them we should find interesting things, such as patterns, pattern, color, etc., and then through our own innovative, bold reform, to design our own things. Everyone will have their own different perspective. We can see things that are not the same, so get something it is not the same. This is a process of exploring.
Striver is sattaching importance to image and status, as a means of enabling acceptance by their peer group, at the same time holding onto traditional values. For example in this culture work, striver will be analysis of culture very deeply. Or traditional values based on historical data to analyze. Then divided into many types of culture. Culture is a group (which may be national, it can be people, businesses, households) in the period of time to form thoughts, ideas, behavior, customs, habits, representatives, and from this group as a whole consciousness of radiation out of all activities. Then they may discuss the importance of culture, and then see where is the key points and learn from. Where is the value. And with peer or different people discuss.When they get a clear answer then undertake to do the project.
2010年3月26日星期五
Writing up 2
This year we have a design work called culture project. For this project we are asked that we should explore the word “culture” as a starting point, to explore its meaning and then embark on a visual, exploratory and explanatory journey. Culture generally refers to patterns of human activity and symbolic structure that give such activities significance and importance. Culture can be understood as systems of symbols and meanings. Culture can be defined as all the ways of life including arts, beliefs and institutions of a population that are passed down from generation to generation. Culture has been called the way of life for an entire society. As such, it includes codes of manners, dress, language, religion, rituals, norms of behavior such as law and morality, and systems of belief as well as the art. For this project, we asked choose one of 3 themes centred around the word culture. Symbolic Hybrids, Architecture and the urban landscape and Beneath the surface.
I really interested in Symbolic Hybrids. I am a Chinese student. I naturally thought of the typical Chinese culture. China has a long history. So, the representative of the culture is so many. So I learned to use our approach, the mind map from semester 1, go to my ideas and inspiration drawn bit by bit, write it down. First of all, I think a lot of things. For example, Beijing opera, calligraphy, poetry, Wu Shu, paper cutting, ceramics, couplets, paintings, courtyard and so on. I think these can reflect China's unique cultural characteristics. Then I put them on paper, respectively. And then from these few point of view, divergent my thinking. For example, from calligraphy that I thought its color, is black. Material is ink. There are many calligraphic fonts. Each form is very different, there are coarse or refined. Generally written in calligraphy is on Xuan paper. The Four Treasures of China is famous for, namely, brush, ink, paper and inkslab. So I think if my design work can take advantage of Xuan paper and ink, plus a variety of fonts to paint the shape, but also a good idea. From the calligraphy I also thought of the Chinese tradition of ink painting. like this method, I just write my own thoughts and feelings on the paper. Finally I am more interested in Beijing opera facial masks. Because it is a very special art. The performers through their face make up to represent the different roles and personalities. Each one has its own meaning of facial masks. Different colors and patterns represent different character traits. So I want to learn this pattern, pattern, color. Applied them in my textile design. These are just the Chinese culture and art form. I think it could also learn from other countries, some of the cultural forms. They can compared. So I see a number of books information, looking for pictures on the internet, look at other countries art if they have some face mask art like China have. Then I get the color painting in Africa, The traditional Japanese woman’s face make up and so on. Then I have my project topic face visual feast. And then write their different characteristics, and then summed up the application in my works. Last semester I use this method mind map to develop my ideas. I also ues the method called brain storm. I bought a lot of notes of paper, and with team to discuss. When we have something in mind , we write in the notes on paper, and pasted to the wall. It is very clearly to help us to sort out ideas. In this way, thoughts can open, and we got a lot of thing. I also read lots of books and magazines.
If this time I can do it again, I want to choose the interview. In fact, my own knowledge is not so extensive. A lot of knowledge I do not know. This esoteric things like the culture, it is too difficult for me to understand. Perhaps I only know that on the one hand, a little bit. So I think we should be able to interview some teachers and researchers like this staff, because they are knowledgeable. They can be very clearly told me that I want to answer. The last time we did the interview, I have asked a teacher, he gave me the answer is very professional. He has his own unique insight. Unlike most of the respondents answers are very casual, very superficial. So I think I can based on their professional answers then analysis, sorting, integrated. And then select the one most interested in my own research. Of course, I also thought about using observation methods. But it looks a not very realistic way. Because I do not know what is cultural art form. So, I don not know where to begin. I do not know what should be observed. But I can first interview. I got some of what they call the representation of culture and arts. Then I can have the purpose to observe. I can observe the characteristics of each kind of art, and all of their similarities and differences. So I think interview is pretty useful.
Actually, my design study is talk about the mask. Mask has its own meanings and spirits. My studio brief is face art. They have close link. I think it is quite interesting. For the future, in my design project and design study, I'll try to use interviews, observation, mind map these methods. Select the appropriate method. Because they are really useful. They can help me analyze the ideas and inspiration. They can afford me a lot of information.
Now I feel that I was just a design student. Most time is to learn the works of masters. Then make some satisfied things that I think. Now I do not feel that I am a designer. Because many of my ideas is still very childish, very immature. When I consider something is still relatively simple. So, I still have to work harder.
Bibliography:
The Culture of Traditional China , Xi An
The Peking Opera, wang yin
The Art of the Cameroon, Washington,Haddom
Act of the upper, Meudon
The way of the masks, London, Lewis
Laga Culture, BleakleyLife and art, Kilenge
Spirits and kings, Meudon
Different Culture, Kassel
The power of art, Barbier
Mask system, Guiart
Sculpture, Heurley
2010年3月24日星期三
Writing up 1
Last semester my essay is talk about the mask. Mask is a symbol of people's inner world. It is cross all over the world, and it is a past and present an important cultural phenomenon. It has a rich cultural connotation and unique external form. It is valued by the academic community. Mask is a special area of the arts. It first appeared in a very remote past. Many tribes and tribal masks are often combined to sculpture and painting to create works quite exciting. Human wearing a mask for several thousand years of history. The first mask may result from hunting activities. In order to facilitate closer to their prey, hunters disguised themselves with masks of various animals. Folk activities around the world, people tend to use the mask to appear as a ghost and all kinds of strange birds and monsters, in order to express the forces of nature worship or in the imagination to conquer the forces of nature. Some of the folk opera performances, the mask is still a major make-up tool. Such as in China，Guizhou, in opera, and so on. Mask has its meaning and spirit. The mask is not just mask on the face. It is a kind of art. It is man who is most fascinated by man. Since he is puzzled by his own being, he is most preoccupied with himself. His self-reflection, which he tries to penetrate, understand, and love, never quite leaves him. Mask has a long history and cultural values. I feel myself have a strong curiosity for the different masks. I like their different shape, pattern, color. So I would like to in-depth understanding its heart, to learn more wider implication.
Lord Byron once said: can not forget the elegance of Venice had: the joy of paradise, people drink, the Italian Supreme's fancy dress party. Masks as a part in Venetian’ life. When People go out, both men and women, they must don the mask, put on cloak. Mask to cover up the true identity of everyone, so people can afford to thumb, wanton spree. Well-known Chinese writer Lu Xun in his book says, "they maintain their 'order' of the prison, they tear up their 'civilized' mask." This mask is means camouflage. Victor Hugo once said, Only the human mind is real. Strictly speaking, as the appearance is merely a mask, the real person inside the person. Walter Sorell in his book The mask in the arts told us, It is a perceptive and wide ranging investigation of the magic and mystery of the mask and in particular of the universal significance of the concept of the mask as it is and has been expressed in the arts. Masks play a vital part in the religious and social activities of many primitive societies throughout the world. It also sometimes is the role of camouflage.
This semester we have learned many ways to further our own research. For example, experiments, observations, interviews and so on. This time, I have studied is the mask behind the story and it has a different meaning and artistic value. My approach is to use an interview. I think the interview is more suited to the theme of my research. Interview was a very common modern means of communication, through the interviews we can know a person's many stories and living environment and so on. Interview allows the interviewer and the interviewee a good communication between, you can also make more people understand the interviewer, you can also let others share the person being interviewed a lot of experience (such as entrepreneurial experience, work experience, life experience, etc. ), Today, an interview is an essential way. Use the interview method, I can go to the representation of different places such as Africa, Asia, Europe and other places to interview the original inhabitants of the local artists. And they share my ideas and put forward my question. Then they can according to their own knowledge and experience tells me that I want to know. Because the masks has a different meaning and story of this issue I have no way to do their own experiments or observation. Because I do not know what is meaning in it. I am not the person that nurtured by mask art. I do not have that experience. I can not imagined. So I have to learn from other people's ideas and stories. I need to listen to the experience of others and their lives. By understanding them, I can be classified as a conclusion. Observation is to recognize an important method of objective things. People's wealth of knowledge acquired through observation. With the general observation that the observer of the phenomena observed to go through summary, comparison, analysis, research, things can only have a relatively complete understanding of the profound and thus to retain its essence. But for my research questions, observation, if more difficult. Because i did not understand, ijust can get the most superficial observation of the phenomenon, such as masks look, shape, color, but I can not observe the inner meaning . Therefore, this method does not help me understand my research.
So I think these were the best way is to interview. But there are some minor problems in progress. Interviews will be subject to conditionality. The constraints of space and time. They also show a time-synchronization. Of course, may be Interviewee very shy and tension. So interviewee does not want communication. So, the interviewer needs to make every effort to create a comfortable environment, patient and talk to them. Do not create tense and serious atmosphere. The interviewer can create a number of jokes make they happy, let them relax.
To sum up, I discussed my research object, the meaning of the value of the mask. And I intend to use the method, and why I use this method, each method different, and other ways deficiencies. In short, the study process will take a careful and serious attitude. In order to obtain better conclusion.
2010年3月9日星期二
assignment 4
This assignment our task is interview. This assignment asks us to interact directly with ordinary people in the form of interviews. We can take notes, sketchs, video and so on. We have a lot of topics that we can choose one of them. I choose the ' How do magazines influence people's ideas of design and taste?'
When i went to the coffee shop on weekend, i saw a man sit in there by himself,. So , i am very polite to asked him if i can take interview with him, and just some few simple questions. He was very nice and asked me sit down. Well, actually, it is a difflcult question. Because when i asked him are you usually read magazine ? he told me just sports. Then i asked him How do magazines influence your ideas of design or taste? He thought a long time, and told me. Wa~ it was a hard question to me. Because i am a business man. I don not know. Maybe, I just heard from other people and magzines said this product is good, then i will buy. I always follow mainstream. I believe them. So if it has the bad value or evaluation i will not buy it. So it is my taste. After his answer, I thought a lot of well-known brands, such as apples, Lv, Chanel and so on. Many of my friends and relatives will think it is well-known brands. Something good quality, high credit, it would be to buy those things. Then, i keep asking him, How magaznine influence your other aspects? Do you like read magzines or how often you buy it? And are you think you benefit from it? He was very patient with me, and answered me. Reading sprots magazine is his hobby. He can get some useful and funny imformations from it. It can waste his time and he can relax himself in it. He is not sure it can influence his life or something. He buy it just once a week. Then i thanks for him and went away.
Next people is a teacher that i meet her in the library. I asked her what difference between magazine and other things like newspaper. She told me the magazine's readers do not like the newspapers large, but smaller categories, professional and strong. Readership and target is so clear. Magazine's contents have a greater tendency, professional, different magazines, generally in the vast regions, with different and relatively stable level readers. For example photography magazine, readers to photography-based industry and amateur photographers, so the photographic equipment ads posted in photography magazines, advertising object with the magazine's readers closer to effectively fight these readers become the purchase with this product customers.Magazine is the publication on a regular basis, issuing a longer period, there are weekly, biweekly, monthly, quarterly, semi-annual, or even annual, thus affecting the advertising spread. Then i asked her How do magazines influence your ideas of design and taste? She told me she is a drawing teacher. When she read the Film magazine she always focus on Humanity and drama. The audience's entertainment-oriented design applied to her own works.She was very fond of film posters. Because it is a graphic design works of art. Areas with limited space and materials to express all the film is all about. She will pay attention to the film character's clothing, there are different scenes and props. These will have an impact on the design. She often read fashion magazines. She really like see the different pictures , key words, sectense in that magazine. It include colour, pattern, material and so on. It will tell you that fashion elements, trends, change. You will have selectively applied to your design. When she read a travel magazine, when she will pay attention to the new fashion item. Will also note that some natural beauty of the photos, flowers, trees, fish, coral, volcanoes and so on. The structure of these things, colors, are very beauty. She will also look at some well-known buildings. Because it is the old masters. From the texture, physical sense of observation of all aspects. This inspiration will come. She is really a good speaker.
When i went to the coffee shop on weekend, i saw a man sit in there by himself,. So , i am very polite to asked him if i can take interview with him, and just some few simple questions. He was very nice and asked me sit down. Well, actually, it is a difflcult question. Because when i asked him are you usually read magazine ? he told me just sports. Then i asked him How do magazines influence your ideas of design or taste? He thought a long time, and told me. Wa~ it was a hard question to me. Because i am a business man. I don not know. Maybe, I just heard from other people and magzines said this product is good, then i will buy. I always follow mainstream. I believe them. So if it has the bad value or evaluation i will not buy it. So it is my taste. After his answer, I thought a lot of well-known brands, such as apples, Lv, Chanel and so on. Many of my friends and relatives will think it is well-known brands. Something good quality, high credit, it would be to buy those things. Then, i keep asking him, How magaznine influence your other aspects? Do you like read magzines or how often you buy it? And are you think you benefit from it? He was very patient with me, and answered me. Reading sprots magazine is his hobby. He can get some useful and funny imformations from it. It can waste his time and he can relax himself in it. He is not sure it can influence his life or something. He buy it just once a week. Then i thanks for him and went away.
Next people is a teacher that i meet her in the library. I asked her what difference between magazine and other things like newspaper. She told me the magazine's readers do not like the newspapers large, but smaller categories, professional and strong. Readership and target is so clear. Magazine's contents have a greater tendency, professional, different magazines, generally in the vast regions, with different and relatively stable level readers. For example photography magazine, readers to photography-based industry and amateur photographers, so the photographic equipment ads posted in photography magazines, advertising object with the magazine's readers closer to effectively fight these readers become the purchase with this product customers.Magazine is the publication on a regular basis, issuing a longer period, there are weekly, biweekly, monthly, quarterly, semi-annual, or even annual, thus affecting the advertising spread. Then i asked her How do magazines influence your ideas of design and taste? She told me she is a drawing teacher. When she read the Film magazine she always focus on Humanity and drama. The audience's entertainment-oriented design applied to her own works.She was very fond of film posters. Because it is a graphic design works of art. Areas with limited space and materials to express all the film is all about. She will pay attention to the film character's clothing, there are different scenes and props. These will have an impact on the design. She often read fashion magazines. She really like see the different pictures , key words, sectense in that magazine. It include colour, pattern, material and so on. It will tell you that fashion elements, trends, change. You will have selectively applied to your design. When she read a travel magazine, when she will pay attention to the new fashion item. Will also note that some natural beauty of the photos, flowers, trees, fish, coral, volcanoes and so on. The structure of these things, colors, are very beauty. She will also look at some well-known buildings. Because it is the old masters. From the texture, physical sense of observation of all aspects. This inspiration will come. She is really a good speaker.
So I felt that magazines, newspapers, television all the media. But their functions and features are different. 1.Watch TV on the eyes and has hurt the newspaper does not look 2.Newspapers recently reported that day are what happened and television reports are always happening around us 3.Some newspapers will make a number of false reports and television will not
Then i also meet a man in library. He really like cartoon magazines. Because he told me it is the Youth culture. Sometimes he will also look at some economy magazines. Purpose is simply to obtain information that will help finance and investment. See more of this magazine will help you observe, analyze and sum up things. Look at the problem from different angles. This can open up thinking, a better understanding of customers. Relatively strong commercial design. When he saw the photograph magazine, he will absorb the patterns, the static images made of dynamic animation.
Then i also meet a man in library. He really like cartoon magazines. Because he told me it is the Youth culture. Sometimes he will also look at some economy magazines. Purpose is simply to obtain information that will help finance and investment. See more of this magazine will help you observe, analyze and sum up things. Look at the problem from different angles. This can open up thinking, a better understanding of customers. Relatively strong commercial design. When he saw the photograph magazine, he will absorb the patterns, the static images made of dynamic animation.
Finally, I think the magazine to a group of people feel is the pastime. They just followed the trend of progress. Not have their own ideas. Reading magazines will not give them what grade on the increase. And those who think that reading magazines is a way to capture inspiration. At the same time will be according to their design to refine the design elements appropriate for their works.
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